88 Books Like The Dangers of Smoking in Bed

More about hiding out and the lead-up to the final shoot-out than the bank robbery at the start, this novel is based on a real case from the 1960s. After they rob a bank in the Province of Buenos Aires, Dorda and Brigone, escape with the money over the Rio de la Plata. They find a bolthole in Montevideo, the capital of Uruguay, a country much like Argentina culturally and historically, but with fewer hysterical tendencies. Not happy about this are the politicians and police officers involved in the robbery and anxious for their cut of the loot. Piglia does a good job of recreating Argentina in the 1960s. Despite some stylistic pretensions and his overwriting of the main characters, the author manages not to get in the way of the story.

Argentinians in 1950s Paris argue about art and philosophy. They fall in and out of love to a jazz soundtrack. The novel itself is in love with the modern city and the secret patterns of chance. Prefacing it is a ‘table of instructions’ in which the author writes that "this book consists of many books, but two books above all. The first can be read in a normal fashion and it ends with Chapter 56... The second should be read by beginning with Chapter 73 and then following the sequence indicated at the end of each chapter."

There’s an exhilaration of structure, a deadpan formal playfulness that still thrills. It’s the book that taught me the most about reading. And, not entirely coincidentally, it’s the book that made me realise I was going to become a writer.

The painter Castel meets Maria, the only person in the world capable of understanding him and his art. They start a relationship, but he becomes obsessive and wants her to live for him only. Castel describes his mind as a dark labyrinth in which occasional flashes of lightning illuminate dark corridors. The increasingly paranoid painter murders Maria and the novel takes the form of his prison-cell confession. Unable to understand why he committed the crime; he is at a loss how to justify himself. Sabato’s tortured protagonist is up there with Camus’ Meursault and Dostoevsky’s Underground Man. Femicide is a huge problem in Latin America, and Sabato was praised for being able to recreate the mind of a monster. However, I found Castel somewhat sympathetic.

As much as any writer I know, Jorge Luis Borges soars in both poetry and fiction. His short stories would make him a candidate for my top five fiction authors, and they make a great bridge to his poetry.

With their profound examinations of the mysteries of selfhood and time, their love letters to the activities of reading and writing, and their reimagining of the past—from his native Argentina to Europe and beyond—Borges’s poems offer endless riches for my mind and my heart.

An Agatha Christie-style mystery set in Buenos Aires. At two in the morning, Pancho Soler returns drunk to his apartment building on Santa Fe Avenue. He presses the button for the lift, and it arrives with a surprise inside: a beautiful blonde woman, sitting upright, but dead. Many of the suspects who live in the building are recent immigrants from Europe and, as the novel is set in the 1950s, their memories and secrets from WW2 are still fresh. Boris, a Bulgarian chemist who worked for the Nazis, is the most entertaining of the lot. There are the usual red herrings and revelations in the search for the murderer. The young Argentinian detective is a little flat by Christie's standards, but this is a satisfying whodunnit.   

Paradoxes—a 2010 translation of his 2001 work—was an important addition to the emerging literature on anarchist cultural politics—a literature that began with a fellow Argentinian historian Dora Borrancos, who wrote Anarquismo, educación y costumbres en la Argentina de principios de siglo (1990). My book built on this emerging exploration of anarchists outside the workplace. Paradoxes explores anarchist newspapers, culture, plays, meetings, and other activities radicals used to promote anarchism while also offering entertainment and relaxation. Suriano is not myopic. He notes that in a time when other forms of entertainment like cinema emerged, workers had competing forms of commercialized amusement to pursue. This book—like other cultural histories—breathes life into old histories of anarchism that often were boring “ABC histories,” i.e., stories of one union acronym after another.

The mute Argentinian painter Juan Salvatierra spent decades painting a two-mile-long scroll of canvas that documents personal and collective history.

After his death, his sons are tasked with taking care of his legacy and preparing the gigantic artwork for exhibition. Except one part of the scroll is missing. The search for the painted fragment provides much of the plot, though the novel’s beauty lies in its evocative descriptions of the painting and the process of art-making.

The Missing Year of Juan Salvatierra compels readers to reflect on the ways in which art holds up a mirror to life and the self. 

In this fascinating study, Chasteen examines the historical experiences that molded Latin American popular dance from an Atlantic perspective. It delves into the “deep” history of Latin American culture and analyzes the development of dancing culture in its socio-historical context. This is not only a well-researched, but also a well written and oftentimes funny book that is broadly accessible. It is a must-read for any new scholar interested in the field of Black performance culture. Although the focus is on Latin America, Chasteen’s study reveals connections that are also of great importance to understanding the historical development of Black dance culture in North America.

In this immersive memoir, Kassabova observes that people who’re drawn to the difficult dance of tango are usually complex and thin-skinned and thus, when relationships form between tango partners and, inevitably, end the suffering is excruciating because… complex and thin-skinned. Steeped in the history of tango and its music, the contemporary element comes from the Kassabova’s freelance life; accepting travel writing assignments at short notice, stepping off a plane into another city’s tango scene. Her relationship with dancing evolves over a decade and several continents, similarly her connections with tango aficionados encountered around the globe. There’s more than one heartbreak, described in lucid, compelling prose but the end is heart-healing because, as an Ecuadorian friend tells her, "The universal woman makes her own way."

In November 1915 Hudson was in the care of nurses in a Cornish convent hospital, much burdened by news from the Western Front. ‘Shall I live to see peace on earth again?’ he asked Don Roberto Cunninghame Graham in a letter.

"To me nothing is left but memories, and I’m here putting some of my boyhood’s days in a book which will have a certain interest because it gives a sort of picture of the country and people before it began to be civilised."

He was writing a memoir. A combination of Don Roberto’s missives, fevered dreams, and possibly medication sparked Hudson’s visions of his Pampas childhood. He asked his nurses for paper and pencils and began to scribble what would become his acclaimed memoir, Far Away and Long Ago. Virginia Woolf said she greeted the book "like an old friend". It remains a classic of its genre.